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Journal articles on the topic 'Carnatic music, South Indian'

Author: Grafiati

Published: 19 February 2023

Last updated: 20 February 2023

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1

Niranjan, Sujatha. "How to Read Carnatic Music on Violin." Shanlax International Journal of Tamil Research 6, no. 2 (October 1, 2021): 70–75. http://dx.doi.org/10.34293/tamil.v6i2.4349.

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The violin is a major stringed instrument in South Indian music. It is played as the main instrument in Carnatic music and as an accompaniment to musical performances such as vocals. This is not the heritage instrument of India. Today there is no concert without Carnatic music. Thus it plays an important role in Carnatic music.The present form of this violin was composed in 16th century Italy. The violin, a folk instrument, was first used in South Indian music in the 18th century. It is also more important than any other instrument. It also plays an important role in major concerts. There are many reasons why it is played as the main instrument in Carnatic music more than any other instrument. It has developed to the point where it can be read more than any other instrument in the 20th century for various performances such as vocals, other instrumental events, orchestras, and dance performances. It is also found that Carnatic musicians (male/female) can adjust their pitch to suit their convenience. Since its introduction to Carnatic music, many great scholars have read and succeeded in Carnatic music. In addition, it plays a very important role in Palliya music and has a wide place in Carnatic music.

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2

N, Kiritharan Sharma. "Importance of Mridangam (Percussion Instrument) in Carnatic Music Concerts." International Research Journal of Tamil 4, S-9 (July 28, 2022): 69–75. http://dx.doi.org/10.34256/irjt22s910.

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Music is an art that is loved by all the people of the world. Music is seen as the key factor in uniting all living beings in the world with God. There are many different types of music found all over the world. Among them, Carnatic music is found as a branch of Indian music genres. Carnatic music is seen as a music genre that mainly represents South India and is loved by many people worldwide. Our hymn is joyful. Music consists of three sections, namely: songs; instrumental music; and the mode of dancing. "Geetham" means vocal music, "Vaathiyam" means instrumental music, and "Niruthiyam" means dance. Carnatic music concerts are organised as vocal music and instrumental music concerts. The mridangam is the most important rhythmic and pitching instrument in Carnatic music concerts. The mridangam, the primary percussion instrument, is also the main instrument used in Carnatic music concerts to keep all the songs in a rhythmic pattern. In this research paper, the importance of the mridangam in Carnatic music concerts has been examined by presenting various matters. In that way, apart from the introduction and summary of the research paper, the introduction to the Carnatic music concert, the history of the mridangam instrument, and the uniqueness of the mridangam in Carnatic music concerts have been examined in this study.

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3

Wren, Toby. "Remembering Palghat Raghu." Ethnomusicology 67, no. 1 (January 1, 2023): 96–122. http://dx.doi.org/10.5406/21567417.67.1.07.

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Abstract Palghat Raghu was a master of the mridangam and one of the leading figures in South Indian Carnatic music. In this article, I want to contribute a perspective on his musical life and, through my reflections on my time with him, contribute insights toward a fuller understanding of Carnatic music and Western engagements with it. I do so by drawing on fieldwork I conducted in Chennai, India, at various times between 2005–2013. Specifically, I use examples of solkattu from my lessons with him to illustrate Raghu's approach to rhythm and the general rhythmic approach within Carnatic music, including the kinds of musical-cognitive skills involved in rhythmic production within the Carnatic system. By describing aspects of his practice and his various interactions with other musicians, I also reflect on his position as a culture-bearer and on the relationships between musical cultures.

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4

Ranganathan, Rajeswari. "Emergence of an Ecumene: Transnational Encounters in South Indian Carnatic Music." Asian Music 52, no. 1 (2021): 57–87. http://dx.doi.org/10.1353/amu.2021.0000.

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5

Diwakar, Pranathi. "City Music—A Reprise." Contexts 20, no. 1 (February 2021): 63–64. http://dx.doi.org/10.1177/1536504221997873.

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6

Sankar Ganesh, J. "Impact of Carnatic Raga-s on the Milk Yield of Cows." Shanlax International Journal of Arts, Science and Humanities 8, no. 2 (October 1, 2020): 83–87. http://dx.doi.org/10.34293/sijash.v8i2.3318.

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Music is an integral part of human evolution. Indian music is religiously rooted and added as an essential part of religious activities. It is believed that Indian music originated and evolved from Samaveda. The origin of musical sounds perceived by birds and animals illustrates the close relationship of music with the environment. The other species of planet earth can also be influenced by music documented in various earlier literature. Experiments on the influence of music on the milking habit of cows started amid the 19th century in foreign countries. In India, this is a primordial attempt made by the author to study the influence of Carnatic music on the cows. This paper is intended to highlight the positive power of various aspects of Carnatic music on the milk yield of the cows. This paper is an outcome of the UGC- Major Research project, sanctioned to the author, entitled “Impact of Carnatic music on the milk yield of S.V. Gosamrakshanashala- Tirupati.”

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7

Srinivasamurthy, Ajay, Sankalp Gulati, Rafael Caro Repetto, and Xavier Serra. "Saraga: Open Datasets for Research on Indian Art Music." Empirical Musicology Review 16, no. 1 (December 10, 2021): 85–98. http://dx.doi.org/10.18061/emr.v16i1.7641.

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We introduce two large open data collections of Indian Art Music, both its Carnatic and Hindustani traditions, comprising audio from vocal concerts, editorial metadata, and time-aligned melody, rhythm, and structure annotations. Shared under Creative Commons licenses, they currently form the largest annotated data collections available for computational analysis of Indian Art Music. The collections are intended to provide audio and ground truth for several music information research tasks and large-scale data-driven analysis in musicological studies. A part of the Saraga Carnatic collection also has multitrack recordings, making it a valuable collection for research on melody extraction, source separation, automatic mixing, and performance analysis. We describe the tenets and the process of collection, annotation, and organization of the data. We provide easy access to the audio, metadata, and the annotations in the collections through an API, along with a companion website that has example scripts to facilitate access and use of the data. To sustain and grow the collections, we provide a mechanism for both the research and music community to contribute additional data and annotations to the collections. We also present applications with the collections for music education, understanding, exploration, and discovery.

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8

Rajan, Rajeev, and Sreejith Sivan. "Raga Recognition in Indian Carnatic Music Using Convolutional Neural Networks." WSEAS TRANSACTIONS ON ACOUSTICS AND MUSIC 9 (May 7, 2022): 5–10. http://dx.doi.org/10.37394/232019.2022.9.2.

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A vital aspect of Indian Classical music (ICM) is raga, which serves as a melodic framework for compositions and improvisations for both traditions of classical music. In this work, we propose a CNN-based sliding window analysis on mel-spectrogram and modgdgram for raga recognition in Carnatic music. The impor- tant contribution of the work is that the pro- posed method neither requires pitch extraction nor metadata for the estimation of raga. CNN learns the representation of raga from the pat- terns in the melspectrogram/ modgdgram dur- ing training through a sliding-window analysis. We train and test the network on sliced-mel- spectrogram/modgdgram of the original audio while the nal inference is performed on the au- dio as a whole. The performance is evaluated on 15 ragas from the CompMusic dataset. Multi- stream fusion has also been implemented to identify the potential of two feature representations. Multi-stream architecture shows promise in the proposed scheme for raga recognition.

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9

Padi, Sarala, Spencer Breiner, Eswaran Subrahmanian, and Ram D. Sriram. "Modeling and Analysis of Indian Carnatic Music Using Category Theory." IEEE Transactions on Systems, Man, and Cybernetics: Systems 48, no. 6 (June 2018): 967–81. http://dx.doi.org/10.1109/tsmc.2016.2631130.

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10

Bhat J, Prajna, and Rajalakshmi Krishna. "Effect of Listening Biographies on Frequency Following Response Responses of Vocalists, Violinists, and Non-Musicians to Indian Carnatic Music Stimuli." Journal of Audiology and Otology 25, no. 3 (July 10, 2021): 131–37. http://dx.doi.org/10.7874/jao.2021.00115.

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Background and Objectives: The current study investigates pitch coding using frequency following response (FFR) among vocalists, violinists, and non-musicians for Indian Carnatic transition music stimuli and assesses whether their listening biographies strengthen their F0 neural encoding for these stimuli.Subjects and Methods: Three participant groups in the age range of 18-45 years were included in the study. The first group of participants consisted of 20 trained Carnatic vocalists, the second group consisted of 13 trained violinists, and the third group consisted of 22 non-musicians. The stimuli consisted of three Indian Carnatic raga notes (/S-R2-G3/), which was sung by a trained vocalist and played by a trained violinist. For the purposes of this study, the two transitions between the notes T1=/S-R2/ and T2=/R2-G3/ were analyzed, and FFRs were recorded binaurally at 80 dB SPL using neuroscan equipment.Results: Overall average responses of the participants were generated. To assess the participants’ pitch tracking to the Carnatic music stimuli, stimulus to response correlation (CC), pitch strength (PS), and pitch error (PE) were measured. Results revealed that both the vocalists and violinists had better CC and PS values with lower PE values, as compared to non-musicians, for both vocal and violin T1 and T2 transition stimuli. Between the musician groups, the vocalists were found to perform superiorly to the violinists for both vocal and violin T1 and T2 transition stimuli.Conclusions: Listening biographies strengthened F0 neural coding, with respect to the vocalists for vocal stimulus at the brainstem level. The violinists, on the other hand, did not show such preference.

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11

Kumaraswamy, Balachandra, and Poonacha P G. "Recognizing ragas of Carnatic genre using advanced intelligence: a classification system for Indian music." Data Technologies and Applications 54, no. 3 (May 16, 2020): 383–405. http://dx.doi.org/10.1108/dta-04-2019-0055.

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PurposeIn general, Indian Classical Music (ICM) is classified into two: Carnatic and Hindustani. Even though, both the music formats have a similar foundation, the way of presentation is varied in many manners. The fundamental components of ICM are raga and taala. Taala basically represents the rhythmic patterns or beats (Dandawate et al., 2015; Kirthika and Chattamvelli, 2012). Raga is determined from the flow of swaras (notes), which is denoted as the wider terminology. The raga is defined based on some vital factors such as swaras, aarohana-avarohna and typical phrases. Technically, the fundamental frequency is swara, which is definite through duration. Moreover, there are many other problems for automatic raga recognition model. Thus, in this work, raga is recognized without utilizing explicit note series information and necessary to adopt an efficient classification model.Design/methodology/approachThis paper proposes an efficient raga identification system through which music of Carnatic genre can be effectively recognized. This paper also proposes an adaptive classifier based on NN in which the feature set is used for learning. The adaptive classifier exploits advanced metaheuristic-based learning algorithm to get the knowledge of the extracted feature set. Since the learning algorithm plays a crucial role in defining the precision of the raga recognition, this model prefers to use the GWO.FindingsThrough the performance analysis, it is witnessed that the accuracy of proposed model is 16.6% better than NN with LM, NN with GD and NN with FF respectively, 14.7% better than NN with PSO. Specificity measure of the proposed model is 19.6, 24.0, 13.5 and 17.5% superior to NN with LM, NN with GD, NN with FF and NN with PSO, respectively. NPV of the proposed model is 19.6, 24, 13.5 and 17.5% better than NN with LM, NN with GD, NN with FF and NN with PSO, respectively. Thus it has proven that the proposed model has provided the best result than other conventional classification methods.Originality/valueThis paper intends to propose an efficient raga identification system through which music of Carnatic genre can be effectively recognized. This paper also proposes an adaptive classifier based on NN.

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12

Iyengar, Dr Kalpana Mukunda, Mrs Veena Prasad, and Dr Roxanne Henkin. "A Study of Asian Indian and Asian Indian American Carnatic Music Students on Emotive Responses to Six Carnatic Ragas: Qualitative Analysis of Student Responses." IOSR Journal of Research & Method in Education (IOSRJRME) 4, no. 5 (2014): 29–36. http://dx.doi.org/10.9790/7388-04532936.

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13

Krishnan, Vijaya, and Dr Sarada Sridhar. "INDIAN MRIDANGAM ARTIST AND ASSOCIATED MUSCULOSKELETAL DISORDERS." ShodhKosh: Journal of Visual and Performing Arts 3, no. 1 (May 24, 2022): 341–48. http://dx.doi.org/10.29121/shodhkosh.v3.i1.2022.113.

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Background: Percussion artists are prone to develop musculoskeletal injuries. Mridangam is one of the most popular accompaniments in an Indian Carnatic Music recital. Thus, the aim of the study is to explore the prevalence of musculoskeletal disorders amongst Mridangam artists. Methodology: This was a descriptive cross-sectional study. Mridangam artists from various music school participated in the study over the period of 6 months. Self-made questionnaire was administered to artists comprising of demographic data, practice habits, and information about instrument usage.Using a video camera, the posture was recorded and analyzed. The recorded video was evaluated for risk factors. Results: This study revealed a 40% prevalence of playing related musculoskeletal affection among the Mridangam artists. Low back region was the most affected followed by knee and shoulder. Conclusion: The assessment of hazards revealed that the artists have medium exposure level of risk factors. Mridangam a form of percussion instrument has minimal detrimental effects on the artists must be promoted more. Title: Indian Mridangam Artist and Musculoskeletal Disorders

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14

Benet, Neelesh, Rajalakshmi Krishna, and Vijay Kumar. "Enhancement of Processing Capabilities of Hippocampus Lobe: A P300 Based Event Related Potential Study." Journal of Audiology and Otology 25, no. 3 (July 10, 2021): 119–23. http://dx.doi.org/10.7874/jao.2021.00024.

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Background and Objectives: The influence of music training on different areas of the brain has been extensively researched, but the underlying neurobehavioral mechanisms remain unknown. In the present study, the effects of training for more than three years in Carnatic music (an Indian form of music) on the discrimination ability of different areas of the brain were tested using P300 analysis at three electrode placement sites.Subjects and Methods: A total of 27 individuals, including 13 singers aged 16-30 years (mean±standard deviation, 23±3.2 years) and 14 non-singers aged 16-30 years (mean age, 24±2.9 years), participated in this study. The singers had 3-5 years of formal training experience in Carnatic music. Cortical activities in areas corresponding to attention, discrimination, and memory were tested using P300 analysis, and the tests were performed using the Intelligent Hearing System.Results: The mean P300 amplitude of the singers at the Fz electrode placement site (5.64±1.81) was significantly higher than that of the non-singers (3.85±1.60; t(25)=3.3, <i>p</i><0.05). The amplitude at the Cz electrode placement site in singers (5.90±2.18) was significantly higher than that in non-singers (3.46±1.40; t(25)=3.3, <i>p</i><0.05). The amplitude at the Pz electrode placement site in singers (4.94±1.89) was significantly higher than that in non-singers (3.57±1.50; t(25)=3.3, <i>p</i><0.05). Among singers, the mean P300 amplitude was significantly higher in the Cz site than the other placement sites, and among non-singers, the mean P300 amplitude was significantly higher in the Fz site than the other placement sites, i.e., music training facilitated enhancement of the P300 amplitude at the Cz site.Conclusions: The findings of this study suggest that more than three years of training in Carnatic singing can enhance neural coding to discriminate subtle differences, leading to enhanced discrimination abilities of the brain, mainly in the generation site corresponding to Cz electrode placement.

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15

Radhakrishnan, Mahesh. "South Indian Carnatic singing and Irish Sean-nós - an ethnographic, musical and linguistic comparison." Folk Life 54, no. 1 (January 2, 2016): 32–48. http://dx.doi.org/10.1080/04308778.2016.1159791.

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16

Bagchi, Tista. "The Signing System of Mudra in Traditional Indian Dance." Paragrana 19, no. 1 (November 2010): 259–66. http://dx.doi.org/10.1524/para.2010.0017.

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AbstractBody language involving manual gestures of a highly stylized nature is used in traditional Indian dance forms. Termed Mudras, such gestures are related to but distinct from Mudras in Buddhist and/or Tantric iconography and in Carnatic music of Southern India. The Mudra signs in dance occur in families or classes, which often cut across the basic dichotomy between combined-hand and separate-hand gestures, and which reflect linguistic and sociolinguistic classes of words and signs, such as question expressions and hierarchically differentiated pronouns, used in the domain of language. However, the Mudra signing system is also combined with facial mime or acting illustrative of different feelings such as romantic love, mirth, anger, disgust, fear, and sadness, to yield a richly communicative and dynamic aesthetic in Indian dance forms.

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17

Bhalke, Daulappa Guranna, Betsy Rajesh, and Dattatraya Shankar Bormane. "Automatic Genre Classification Using Fractional Fourier Transform Based Mel Frequency Cepstral Coefficient and Timbral Features." Archives of Acoustics 42, no. 2 (June 27, 2017): 213–22. http://dx.doi.org/10.1515/aoa-2017-0024.

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Abstract This paper presents the Automatic Genre Classification of Indian Tamil Music and Western Music using Timbral and Fractional Fourier Transform (FrFT) based Mel Frequency Cepstral Coefficient (MFCC) features. The classifier model for the proposed system has been built using K-NN (K-Nearest Neighbours) and Support Vector Machine (SVM). In this work, the performance of various features extracted from music excerpts has been analysed, to identify the appropriate feature descriptors for the two major genres of Indian Tamil music, namely Classical music (Carnatic based devotional hymn compositions) & Folk music and for western genres of Rock and Classical music from the GTZAN dataset. The results for Tamil music have shown that the feature combination of Spectral Roll off, Spectral Flux, Spectral Skewness and Spectral Kurtosis, combined with Fractional MFCC features, outperforms all other feature combinations, to yield a higher classification accuracy of 96.05%, as compared to the accuracy of 84.21% with conventional MFCC. It has also been observed that the FrFT based MFCC effieciently classifies the two western genres of Rock and Classical music from the GTZAN dataset with a higher classification accuracy of 96.25% as compared to the classification accuracy of 80% with MFCC.

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18

Santhanam, Sushruti. "Performance of memory and the making of Pallaki Seva Prabandhamu of Maharaja Sahaji Bhonsale II." Indian Theatre Journal 4, no. 1 (August 1, 2020): 19–38. http://dx.doi.org/10.1386/itj_00004_1.

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The Pallaki Seva Prabandhamu is a geya nataka (musical play) in lyrical Telugu language composed in the early eighteenth century by Sahaji Bhonsale II (r. 1684‐1712), the Maratha king of the Tamil-speaking region of Thanjavur. Using its most current iteration, the production of a digital album in 2012, as the locus, the article explores the historical vicissitudes of music construction in Carnatic music. The continuous recasting of old repertoire like the Pallaki illuminates the intangible agencies and exigencies of this process of historical record-keeping in southern Indian music. This article showcases the many historical and epistemic locations through which the Pallaki has passed, in the process exposing some critical gaps and misses in historical writing on the southern Indian musical repertoire. It also proposes an alternative, more direct engagement with musical material, in order to write about historical contexts of music and pushes the historian of music to yield more agency to the musician in co-writing the histories of music. The article raises two methodological possibilities: a critical inclusion of ‘performed repertoires’ as an archive of music history; and the inclusion of publishing, notating and other conventional archival of manuscripts within a larger conceptual framework of performance of text.

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19

Swift, Gordon N. "South Indian "Gamaka" and the Violin." Asian Music 21, no. 2 (1990): 71. http://dx.doi.org/10.2307/834112.

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20

Wood, Brandon Keith. "South Indian Solkattu and Western Music Pedagogy." Music Educators Journal 99, no. 4 (May 23, 2013): 63–67. http://dx.doi.org/10.1177/0027432113483839.

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21

Terada, Yoshitaka M., Gayathri Rajapur Kassebaum, Vadya Lahari, and Bob Haddad. "South Indian Instrumental Ensemble." Ethnomusicology 38, no. 3 (1994): 559. http://dx.doi.org/10.2307/852132.

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22

Simon, Robert L. "Tyagaraja and the South Indian Bhajana Sampradaya." Asian Music 20, no. 1 (1988): 114. http://dx.doi.org/10.2307/833857.

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23

Jackson, Melveen. "Popular Indian South African music: division in diversity." Popular Music 10, no. 2 (May 1991): 175–88. http://dx.doi.org/10.1017/s0261143000004499.

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It is frequently claimed that cultural processes in South Asia are best understood as being informed by an ethos of ‘Unity in Diversity’. The same cannot be said for culture as it has been, and still is, experienced by Indian South Africans. Far from being the homogeneous group to which apartheid South Africa relegated Indian South Africans in 1948 for the purposes of political control, the ‘Community’, as it is euphemistically called by politicians of all kinds, is plagued by sectarianism and conflict. This contest engages individuals and genuine communities who are seeking to establish a freely chosen identity, economic stability and political status.

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24

Garani, Shayan Srinivasa, and Harish Seshadri. "An algorithmic approach to South Indian classical music." Journal of Mathematics and Music 13, no. 2 (May 4, 2019): 107–34. http://dx.doi.org/10.1080/17459737.2019.1604845.

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25

Thompson, Gordon Ross. "The Illustrated Companion to South Indian Classical Music (review)." Notes 57, no. 1 (2000): 107–8. http://dx.doi.org/10.1353/not.2000.0056.

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26

Bedford, Ian. "Listening to the Voice in South Indian Classical Music." Australian Journal of Anthropology 19, no. 2 (August 2008): 237–44. http://dx.doi.org/10.1111/j.1835-9310.2008.tb00126.x.

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Kunikullaya, U. Kirthana, Vijayadas, Radhika Kunnavil, Jaisri Goturu, Vadagenahalli S. Prakash, and Nandagudi Srinivasa Murthy. "Short-term effects of passive listening to an Indian musical scale on blood pressure and heart rate variability among healthy individuals – A randomised controlled trial." Indian Journal of Physiology and Pharmacology 66 (May 31, 2022): 29–44. http://dx.doi.org/10.25259/ijpp_126_2021.

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Objectives: Listening to music is entertaining but also has different health benefits. Music medicine involves passive listening to music, while music therapy involves active music-making. Indian music is broadly classified into Hindustani and Carnatic music, each having its system of musical scales (ragas). Scientific studies of Indian music as an intervention are meagre. The present study determines the effect of passive listening to one melodic scale of Indian music on cardiovascular electrophysiological parameters. Materials and Methods: After informed consent, healthy individuals aged 18–30 years of either gender were recruited and randomly divided into two groups (n = 34 each). Group A was exposed to passive listening to the music intervention (Hindustani melodic scale elaboration [Bhimpalas raga alaap]), while Group B received no intervention except for a few natural sounds (played once in every 2 min). Blood pressure (BP, systolic, SBP; diastolic, DBP) and electrocardiogram in Lead II were recorded with each condition lasting for 10 min (pre, during and post). Heart rate variability (HRV) analysis was done. Data were analysed using SPSS 18.0 version and P ≤ 0.05 was considered significant. Results: In Group A, the SBP did not change during the intervention but increased mildly after the intervention (P = 0.054). The DBP increased in both the groups during the intervention, significant in Group A (P = 0.009), with an increase of 1.676 mmHg (P = 0.012) from pre-during and 1.824 mmHg (P = 0.026) from pre-post intervention. On HRV analysis, mean NN interval increased and HR reduced in both the groups, but was significant only in Group B (P = 0.041 and 0.025, respectively). In Group A, most of the HRV parameters were reduced during music intervention that tended to return toward baseline after the intervention, but the change was statistically significant for total power (P = 0.031) and low frequency (P = 0.013); while in Group B, a consistent significant rise in parasympathetic indicators (SDNN, RMSSD, total power and HF [ms2]) over 30 min was observed. Conclusion: Unique cardiovascular effects were recorded on passive listening to a particular Indian music melodic scale. The scale, raga Bhimpalas, produced a mild arousal response. This could be due to attention being paid to the melodic scale as it was an unfamiliar tune or due to the features of this melodic scale that led to an arousal or excitation response. In contrast, the control group had only a relaxation response. Exploring electrophysiological effects of different genres, melodic scales and their properties after familiarising with the music may thus be illustrative.

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Raman, Rachna, and W. Jay Dowling. "Real-Time Probing of Modulations in South Indian Classical (Carnātic) Music by Indian and Western Musicians." Music Perception 33, no. 3 (February 1, 2016): 367–93. http://dx.doi.org/10.1525/mp.2016.33.3.367.

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We used Toiviainen and Krumhansl’s (2003) concurrent probe-tone technique to track Indian and Western musicians’ tonal-hierarchy profiles through modulations in Carnātic (South Indian classical) music. Changes of mode (rāgam) are particularly interesting in Carnātic music because of the large number of modes (more than 300) in its tonal system. We first had musicians generate profiles to establish a baseline for each of four rāgams in isolation. Then we obtained dynamic profiles of two modulating excerpts, each of which incorporated two of the four baseline rāgams. The two excerpts used the two techniques of modulation in Carnātic music: grahabēdham (analogous to a Western shift from C major to A minor), and rāgamālikā (analogous to a shift from C major to C minor). We assessed listeners’ tracking of the modulations by plotting the correlations of their response profiles with the baseline profiles. In general, the correlation to the original rāgam declined and the correlation to the new rāgam increased with the modulation, and then followed the reverse pattern when the original rāgam returned. Westerners’ responses matched those of the Indians on rāgams with structures similar to Western scales, but differed when rāgams were less familiar, and surprisingly, they registered the shifts more strongly than Indian musicians. These findings converged with previous research in identifying three types of cues: 1) culture-specific cues—schematic and veridical knowledge—employed by Indians, 2) tone-distribution cues—duration and frequency of note occurrence—employed by both Indians and Westerners, and 3) transference of schematic knowledge of Western music by Western participants.

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Morris, Robert. "Variation and Process in South Indian Music: SomeKritis and theirSangatis." Music Theory Spectrum 23, no. 1 (April 2001): 74–89. http://dx.doi.org/10.1525/mts.2001.23.1.74.

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30

Jackson, William J. "“Ever New Flights” of Creativity: Improvisation in South Indian Music." Journal of Dharma Studies 3, no. 1 (December 21, 2019): 17–28. http://dx.doi.org/10.1007/s42240-019-00060-z.

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31

Meddegoda, Chinthaka Prageeth. "Hindustani Classical Music in Sri Lanka: A Dominating Minority Music or an Imposed Musical Ideology?" ASIAN-EUROPEAN MUSIC RESEARCH JOURNAL 6 (December 4, 2020): 41–50. http://dx.doi.org/10.30819/aemr.6-3.

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In Sri Lanka, the various groups of Tamils are jointly the largest minority group who migrated from different places of South India and in different time periods. South Indian music is widely appreciated and learnt by both the Sinhala including by large parts of the Tamil minority spread over Sri Lanka. Although a number of Sinhala people prefer and practice North Indian music geographically, and probably culturally, they are much closer to South India than to North India. Some historical sources report that Sinhalese are descendants of North Indians who are believed to be Aryans who migrated from Persia to the Northern part of India in the 13th century and later. Therefore, some scholarly authorities believe that the Sinhalese ‘naturally’ prefer North Indian music as they also continue the suggested Aryan heritage. Nevertheless, some other sources reveal that the North Indian music was spread in Sri Lanka during the British rule with the coming of the Parsi Theatre (Bombay theatre), which largely promoted Hindustani raga-based compositions. This paper explores selected literature and opinions of some interviewees and discusses what could be the reasons for preferences of North Indian music by the Sinhalese. The interviewees were chosen according to their professional profile and willingness to participate in this research. As a result, this paper will offer insights through analysing various opinions and statements made by a number of interviewees. The research also considered some theories which may relate to the case whether Hindustani classical music is due to these reasons a dominating minority culture or a rather self-imposed musical ideology. The latter would establish an aesthetic hierarchy, which is not reflected in the cultural reality of Sri Lanka. This is a new research scrutinizing a long-term situation of performing arts education in this country taking mainly interviews as a departing point.

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32

MORRIS, ROBERT, and CHITRAVINA N. RAVIKIRAN. "Ravikiran's Concept of Melharmony: An Inquiry into Harmony in South Indian Ragas." Music Theory Spectrum 28, no. 2 (October 2006): 255–76. http://dx.doi.org/10.1525/mts.2006.28.2.255.

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Sinith, M. S., Rahul M. Rajan, and Rajeev Rajan. "Tonic Pitch Estimation in South Indian Classical Music using DSP Processor." WSEAS TRANSACTIONS ON ACOUSTICS AND MUSIC 9 (May 7, 2022): 11–17. http://dx.doi.org/10.37394/232019.2022.9.3.

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In South Indian Classical Music, a performer chooses the tonic pitch as the reference note throughout the performance. The tonic pitch is the swara Sa in the middle octave range of a performance. Automatic tonic identification is essential in South Indian Classical Music to perform computational melodic analysis based on data. The identification of the tonic in real time is often required to judge the quality of the singer or instrumentalist. In this era of a musical reality shows, an autonomous electronic system for tonic identification is very relevant in which the system accurately judges the competitor in terms of tonic perfection. In this proposed method, a tonic identification is performed by using the characteristics extracted from the pitch histogram through frequency ratio method. A mathematical model is proposed based on the parameters of the tonal histogram for tonic identification. In this context, a Tonic identification system also implemented in a Texas Instruments TMS320C6713 Digital signal processor.

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34

Boivin, Nicole. "Rock art and rock music: Petroglyphs of the south Indian Neolithic." Antiquity 78, no. 299 (March 2004): 38–53. http://dx.doi.org/10.1017/s0003598x00092917.

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The rock art of Kupgal, south India, represents an archive of images amassed over five millennia. The author works out a first sequence and shows how the Neolithic petroglyph site may have functioned in its landscape – as a ritual locality at which not only images but sound, performance and social relationships were all prominent.

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Prasad, M. G., V. K. Raman, and Rama Jagadishan. "Various acoustical aspects of an Asian (South) Indian classical music concert." Journal of the Acoustical Society of America 120, no. 5 (November 2006): 3237. http://dx.doi.org/10.1121/1.4788248.

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36

Manuel, Peter. "Popular Music in India: 1901–86." Popular Music 7, no. 2 (May 1988): 157–76. http://dx.doi.org/10.1017/s0261143000002737.

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The dramatic development of popular music in India illustrates some of the complex and varied ways that South Asians have used art and entertainment as a means of adapting and relating to the social transitions accompanying modernisation. Indian popular music, nevertheless, has been all but ignored in scholarly literature, whether musicological or sociological; this article endeavours to provide a basis for future inquiries by providing a descriptive outline of the development of modern Indian commercial music in the twentieth century.

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Reck, David, and Emmie te Nijenhuis. "Varnam: Selected Concert Studies for the South Indian Lute." Ethnomusicology 47, no. 3 (2003): 389. http://dx.doi.org/10.2307/3113945.

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Nelson, David, Trichy Sankaran, K. S. Subramaniam, and Bob Haddad. "Laya Vinyas: The South Indian Drumming of Trichy Sankaran." Ethnomusicology 35, no. 3 (1991): 458. http://dx.doi.org/10.2307/851987.

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PEARSON, LARA. "Coarticulation and Gesture: an Analysis of Melodic Movement in South Indian Raga Performance." Music Analysis 35, no. 3 (April 26, 2016): 280–313. http://dx.doi.org/10.1111/musa.12071.

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40

Nawrot, Piotr. "Indian Music to Celebrate Christmas in Moxo Jesuit Reductions, Bolivia." Poznańskie Studia Teologiczne, no. 30 (August 24, 2018): 121–40. http://dx.doi.org/10.14746/pst.2016.30.05.

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The subject of Indian music and Indian influence on baroque music from the former Jesuit Reductions in South America needs new studies, and what has been said on this matter up to now by musicologists and ethnomusicologists needs revision. The finding of almost 13,000 pages of baroque music from the Chiquito and Moxo Reductions in Bolivia gives us new opportunity to clarify Native American’s attitude toward music introduced in the missions by the missionaries and to illustrate their influence on music created or written anew in the missions by the missionaries and local musicians. In the context of music for Christmas celebration a serious of arguments are discussed to clarify the presence of “Indian” components in the baroque music from America, as well as coexistence of autochthonous and “new music” in the missions.

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41

Gjerdingen, Robert O. "Shape and Motion in the Microstructure of Song." Music Perception 6, no. 1 (1988): 35–64. http://dx.doi.org/10.2307/40285415.

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The early hopes for the Seeger melograph, a device for recording the pitch and intensity of vocal performances, have not been realized because musicologists found the graphic traces of pitch and intensity too difficult to interpret. In this article, proposals are advanced for redesigning the melograph to provide researchers with more symbolically meaningful information. This involves abandoning the notion of fully separable parameters, relaxing the constraint that representations be culturally neutral, and developing ways to represent musical motion qua motion. The discussion is illustrated with redesigned melograms drawn from analyses of a particularly florid excerpt of South- Indian singing. Comparisons between the performances of a South-Indian singer and the performances of two of her students suggest ways in which cultural conditioning can affect vocal performance.

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Terada, Yoshitaka. "T. N. Rajarattinam Pillai and Caste Rivalry in South Indian Classical Music." Ethnomusicology 44, no. 3 (2000): 460. http://dx.doi.org/10.2307/852494.

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43

Wolf, Richard K. "Emotional Dimensions of Ritual Music among the Kotas, a South Indian Tribe." Ethnomusicology 45, no. 3 (2001): 379. http://dx.doi.org/10.2307/852864.

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44

Liberman, Kenneth. "Playing Karnatic music: The public life of a south Indian musical form." South Asian Popular Culture 7, no. 2 (July 2009): 153–59. http://dx.doi.org/10.1080/14746680902920924.

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Raman, Rachna, and W. Jay Dowling. "Perception of Modulations in South Indian Classical (Carnātic) Music by Student and Teacher Musicians." Music Perception 34, no. 4 (April 1, 2017): 424–37. http://dx.doi.org/10.1525/mp.2017.34.4.424.

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Modulation, a shift in mode (rĀgam), is important in South Indian classical (Carnātic) music. Here we investigate the sensitivity of Carnātic and Western listeners to such shifts. Carnātic music has two kinds of shifts: rāgamālikā (retaining tonal center, resembling a shift from C major to C minor in Western music) and grahabēdham (shifting tonal center, resembling a shift from C major to A minor). Listeners heard modulating pieces of music and indicated the point of modulation, and were measured for accuracy and latency. Indians were more accurate than Westerners with both types of modulation but Westerners were faster with grahabēdhams. Cues could explain performance differences between nationalities: Indians were more familiar with rāgamālikā-type modulations whereas Westerners’ culture made them more familiar with grahabēdham-type modulations. Increased caution toward the less familiar grahabēdhams for Indians could explain their slower response time compared to rāgamālikās. With grahabēdhams, hit rates for both groups were comparably high, but Westerners’ lower level of accuracy was due to higher false-alarm rates to lures that were superficially similar to actual modulations. This indicated their dependence on surface-level cues in the absence of familiarity and culture-specific information. Music training helped teachers in both groups make fewer errors when compared to students. Older listeners’ performance was comparable to that of younger listeners.

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Manuel, Peter. "Chutney and Indo-Trinidadian cultural identity." Popular Music 17, no. 1 (January 1998): 21–43. http://dx.doi.org/10.1017/s0261143000000477.

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Since the early 1980s Indian diasporic communities have attained sufficient size, affluence, self-awareness and generational distance from South Asia to have created a set of popular music styles that are autonomous and distinctive rather than strictly derivative of Indian models. While the bhangra music of British Punjabis has attracted some scholarly and journalistic attention, chutney, a syncretic Indo-Caribbean popular music and dance idiom, is little known outside its own milieu. This article constitutes a preliminary socio-musical study of chutney.

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Chandi, Jasdeep Kaur, and Kulveen Trehan. "The cultural shareability of Korean popular media in India: A reflexive thematic analysis of BTS music videos." East Asian Journal of Popular Culture 8, no. 1 (April 1, 2022): 27–52. http://dx.doi.org/10.1386/eapc_00061_1.

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In this article, the BTS phenomenon in India was examined by looking closely at the music of this South Korean band. A reflexive thematic analysis was performed on five BTS music videos followed by interviews with self-identified Indian BTS fans. Three salient themes were identified in the music videos and fans’ interview responses: the fusion of multiple music video genres, cultural hybridity and love as an evolutionary process. It is suggested that these identified themes are culturally shareable with Indian fans. The cultural shareability of the music of BTS has gradually created a mere-exposure effect amongst Indians, which is responsible for their growing affinity for Korean popular media.

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48

Pillay, Jayendran. "Indian Music in the Indian School in South Africa: The Use of Cultural Forms as a Political Tool." Ethnomusicology 38, no. 2 (1994): 281. http://dx.doi.org/10.2307/851741.

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Warwick, Jacqueline. "“Make way for the Indian”: Bhangra music and South Asian presence in Toronto." Popular Music and Society 24, no. 2 (June 2000): 25–44. http://dx.doi.org/10.1080/03007760008591766.

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50

Wong, Patrick C. M., Anil K. Roy, and Elizabeth Hellmuth Margulis. "Bimusicalism: The Implicit Dual Enculturation of Cognitive and Affective Systems." Music Perception 27, no. 2 (December 1, 2009): 81–88. http://dx.doi.org/10.1525/mp.2009.27.2.81.

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ONE PROMINENT EXAMPLE OF GLOBALIZATION AND MASS cultural exchange is bilingualism, whereby world citizens learn to understand and speak multiple languages.Music, similar to language, is a human universal, and subject to the effects of globalization. In two experiments, we asked whether bimusicalism exists as a phenomenon, and whether it can occur even without explicit formal training and extensive music-making. Everyday music listeners who had significant exposure to music of both Indian (South Asian) and Western traditions (IW listeners) and listeners who had experience with only Indian or Western culture (I or W listeners) participated in recognition memory and tension judgment experiments where they listened to Western and Indian music. We found that while I and W listeners showed an in-culture bias, IW listeners showed equal responses to music from both cultures, suggesting that dual mental and affective sensitivities can be extended to a nonlinguistic domain.

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